![]() ![]() So, can an automatic performance be gleeful? The software does what it claims to do - the notes are close enough to what you hear on the 1955 recording to make you wonder whether the differences you do perceive are due to external factors, discussed below - and whether psychological unease with robots (which are really more of a threat because they're boring than because they might take over the world) plays a role. But the 1955 sound, though not bad for its time, has its defects - tape hiss is the big one - amplified by CD reproduction. The attractions of a modernized version of the Gould performance are clear: the original, still in print in several different forms, is one of the most famous recordings of the twentieth century, a complete rethinking of Bach's towering summation of the variation form as he knew it and gleeful infusion of his contrapuntal art into a form that was thought to be primarily about instrumental display. Glenn Gould's 1955 recording of Bach's Goldberg Variations marks the commercial debut for the process other piano discs, both classical and jazz, are on the way. The data thus generated then furnish material for a new, automated performance on a Disklavier Pro - very much the latest step in a long evolution that began with player pianos and their perforated rolls. The short answer: software developed by North Carolina's Zenph Studios that can analyze the sounds of an existing piano recording, breaking them down into digital (numerical) representations of their physical components - tempo, dynamics, attack, duration, even pedaling. What is a "Zenph Re-Performance"? That may well be the first question for buyers who encounter the cover of this disc without benefit of prior discussion. ![]()
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